Interview 19 // Malavika Mandal Andrew

Hello, my name is Roz Dimon and today is Friday, September 17. I am recording from very close to New York City, Shelter Island. I'm an artist who lives in New York, and I am going to be interviewing Malavika Mandal-Andrew today, who I who is in Bombay, India, which really makes this exciting. Who says that technology can't, you know, bring intimacy to people because it really can.

Roz Dimon

I'm acquainted with her work through the Techspressionism Salon, and Techspressionism was coined and created by Colin Goldberg, so we want to salute him for that. It's been a wonderful kind of artist movement and group educational movement. It's been a wonderful situation that is just growing with more and more artists joining and it's been very exciting and their shows coming up here in New York soon as well and also online at Koontz Matrix. But I want to today we're going to focus on Malavika I will just say a few words about myself. I'm an artist who started working in digital media really accidentally ever since my oil paintings began to fill up with pixels. I didn't even know what a pixel was back in 1980s in the early 80s and it's been a very exciting ride ever since but I really want to focus today on Malavika and before we start this interview where she'll be showing her work and we'll be talking back and forth.

Roz Dimon

I just want to say a few words about her. Malavika Mandal Andrew was born in 1971. She's an artist whose practice includes making art. She's an artist who has worked in digital media for over a decade. She's also worked in digital art, mixed media, digital collage, and digital art tapestry, as well as fiber art. She received her Bachelor of Fine Art in Textile Designing in 1993, and her Masters of Fine Art in Textile and Tapestry in 1995 from Kala Bhavana Vishwa Bharti University, Santini Kanatan. During her time at Kala Bhavana, she was awarded the National Society of Art at the University of New York. She was awarded the National Society of Art Scholarship by the Government of India. Wow, that's impressive. Ministry of Human Resource Development and did her training under Ritan Mazumdar.

Roz Dimon

Ritan, is that correct? Correct. Ritan. In 2012, she was awarded the Pollock-Krasner Foundation grant under which she worked with warly artists from Talasari, Maharashtra, to create mixed media paintings. In 2021, Malavika became the first Indian artist to be listed in the Expressionist Artist Index.

Roz Dimon

That's a kudo too. She has participated in numerous solo and group national and international shows. I want to welcome Malavika.

Thank you.

It's so good to see you.

The fact that we're talking between New York and India, I love that. Love that.

Oh, that's great. Expressionism has become an international situation, hasn't it? Very true.

And because of this lockdown, which has, you can say, because of that, managed to link all of us together. And I love the salon, what Expressionism is conducting. Each and every artist's presentation is mind-blowing.

You know, I have to agree with you. And I'm pretty critical at times. I'm open to things. So I wouldn't say necessarily actually I'm too critical. But I don't say much unless I'm really intrigued. And almost every single presentation has been on a really stellar level and very individualistic. And I've always learned something. I agree with you. Malavika, can you tell us a bit about your background? Like, you know, where you were born, where you live and practice now, your cultural influences. And if you want to share your screen, you can. Maybe if

That works. Yeah. I thought let me give a little bit of a glance of the place where I was born and brought up. And it will be easy to make you feel and visualize the feel of that place. So I'll share the screen. And maybe afterwards, again, we will talk. And I will go further. Great.

Great. Great. Great.

Excellent.

Yeah. Excellent.

Oh, hey, should

It be Mumbai? It should be Mumbai now, correct? Yes.

Yes, earlier it was Bombay, now it became Mumbai.

Yes, I should know that because my nephew actually was residing there with the State Department for a couple years. Thank you for correcting me.

When you, I remember that you mentioned once that you visited also India. Yes,

I actually visited New Delhi and Varanasi. The people I was visiting, they were both getting PhDs in dance and culture of India. Had me decked out in a sari within one day. I was just immersed into the Indian culture and it was colorful and beautiful and exotic and very different. It's very different. It was a really amazing experience, but thank you.

Roz Dimon

I know you have a slide about, a little bit about your background. That'd be wonderful to see that.

So I born and brought up at Haridwar. You have been to Banaras. So Banaras is also place of Ganga and Haridwar is also a place of Ganga, known for, religious place.

Yes.

So there are... My father, he was working in Bharati Electrical Limited. That's industrial area where he was working and there they have the provision for the accommodation. So our quarter where we were staying was the last end of the area. So from my quarter, all the jungles, then rainy river, then mountains used to start. So my house was on first floor. So I used to enjoy the view. And each season used to give a different pleasure over there. And, you know, I realized while making this PPT and when I was going through all the things, that I use a lot of this bird's eye view in my work. So now I realize suddenly that maybe because of that experience, what I had at my childhood is still there. And that's the reason I am using it.

Oh, how interesting.

So the extreme left side, this is a place, a picture of Haridwar. Very calm and quiet. Industrial area. And this is the little mountain sky and the Ganga River will give you the idea how and what I used to see. If I am a little bit on top of any road or any place, I can see a whole nature. Oh, beautiful.

Malavika Mandal Andrew

That's my school. I did my schooling from Kendra Vitale. Central. It's a central school. And my art teacher was the person, his name is Kulshreshtu Sir. Who was the person basically, you know, I came to know, yeah, I have that art quality in me and I can paint.

Oh, that's so important, isn't it? When someone sees you and recognizes your talent.

Exactly. And you will not believe. I still remember the first time when I got my prize in third class. So in the third standard, I got it and I came home and I told my mom, see, I got a prize for an art competition. She couldn't believe it. She's saying, you and art. I said, yeah, see, it was a surprise. And that was the time I realized, yeah, I can, you know, the potential is there or something. But it was like a child how you can feel. So one prize gave me the direction to paint more.

Malavika Mandal Andrew

Oh, yes.

That's a nice recognition. Wonderful.

After my schooling. No, sorry. During my schooling time as I was participating in different art competitions. So I got a national gold medal also that time in the interschool KV conference. And I right from the start, I know that I can do it. And I'm like, But you know, I'm not like a kid. I know you can do it. And I'm like, But I know you can do it. And I'm like, But I know you can do it. And I'm like, But I know you can do it. And I'm like, But I know you can do it. And I'm like, But I know you can do it. And I'm like, But I know you can do it. And I'm like, But I know you can do it.

Malavika Mandal Andrew

And I'm like, But I know you can do it. And I'm like, But I know you can do it. Something in me that is art is there in me and because of that as I was not very good in study so they thought of it's better she goes for art and that's how I gave my entrance exam for vishwati university and I got selected I did my d fine and m fine from kalavavan shanti niketan so this black and white house landscape sorry photograph you can see with the photography the building of a black and white artwork yeah

It looks fascinating

Yeah that's a work by kg subramaniam he's a very he was a famous artist now he is no more he did that and inside this building only was my studio

Oh wow that's a cool place to have a studio

Yeah so we used to have a small small room but in we in our college we have a system from fourth year they provide a studio space to work wonderful

That's good and so

I my specialization was in textile design and I did both my masters my graduation and master in textile design in so my school was inapossibility for me and my art definitely my main subject was tapestry and the secondary was the dress designing and after that I shifted to bombay thinking that I will become a tapestry artist.

Malavika Mandal Andrew

And definitely for my life, living hood, I have to do the job. So I was doing job along with my work, but I realized that hardly I was getting time to put effort on tapestry and because of the work pressure. And I will go ahead in the next slide that time, I will tell you, and this is the lead down, is my family's photograph, my parents, my husband.

I'm so glad you're sharing this. This is so important. It's great you share. I want to interrupt really quick, if you don't mind. I have a question. Did tapest, your textile art, your tapestry and dresses, was that art a means for helping you make a living? Like, was that also tied to your job or was it totally different? Did you do another job and then do your, I mean, is- No, see, the thing is, sorry.

Oh, go ahead. Yeah. Yeah. So during our graduation and masters, we learn about all the different techniques of textile designing. Definitely the designing was more important than the technical part. Technical part is to know about when I'm doing some kind of development, so I should know the limitations. I should know the technical background, where and how it will be getting printed

Or woven.

So- Was

It digital? Was any of it digital at all?

No, I was going to come to that early, that our art with our, the universities are teaching practice is totally traditional. Wow. Yeah, now they have introduced, but that time when I did it was, I started my college over there in 1988. Totally understand that.

Yeah.

Yeah. 88 till 1988. 95, 96. There was nothing called digital art over there. No designing also. Nothing. Mm. So the job which I was doing definitely related with the designing for home furnishings or for the garments. And this tapestry I used to do side by side during my free time Saturday Sundays.

I relate to that. That's fine.

So, and along with that, what the thing was because without job is very difficult to survive in Mumbai city, it's very expensive. Hmm.

I didn't.

Yes, and so five first, first show was at Jahangir Art Gallery, but they have a system of booking at least you have to, you know, you have to apply five years before.

Whoa. That's, I thought New York was difficult it's usually a year or two, but wow five years. Yes. And was it open to women artists as much as men was it was it on your mind. Was it unusual to have women artists or was that really even at that time was that where there are a lot of women artists are only a few.

No, I think it is equal, but I didn't find like that because mommy city is quite developed city. So what they're the differentiation between women and men is not that much.

That's good.

Yeah. So,

Even though we know that women are better right.

Yes, yes. So, definitely I mean and I mean, definitely all women are better no doubt about it. But the other way I have noticed the Indian woman. They, they have some of the skill of some kind of art. Now, it can be singing dancing definitely but still like my mom. She was not an artist she got married in very early age at the age of 18. She got married. At the age of I think 15 she got married.

Wow.

Yeah, but there is a difference between my mom and my father of at least 10 years. So, what she was good in embroidery so a lot of embroideries are where they're in, in my, my clothes, or maybe some household articles, so I'll just take you to the next slide, which. I thought of showing her embroidery also.

Malavika Mandal Andrew

And I present, these are, I mean maybe one year back she did some of them and I have taken some photograph of those one year not as a three years because pandemic, I didn't meet them.

These are your mother. These are your mother's.

Oh, wonderful. So, she's. She is right now suffering from Parkinson's. But in that also she does these lovely work, and you cannot make out from the stitches that she is having a problem in her hand. So what I tell everyone art is the way to, you know, remove your stress, and it will, you can enjoy your life.

Malavika Mandal Andrew

So,

I don't know it can also be very frustrating but I know what you mean. Art is a life giving thing, and it takes a lot of energy to.

Definitely I mean for that much time she's out of her pain you know you cannot make out that she is having this problem and she enjoys also.

Also oh and the art is helping her with her pain okay I didn't I didn't I don't know if I understood now I get the thing yes

And is that your family that's your family no he is my mentor the person between you just now read he was my guide for the national scholarship so he is my mentor from whom I have learned how the design can be, you know, contemporarized.

Yeah, we like men too, especially men. Are recognized talent Andy Young women and young men and who teach teachers, you know I review teachers. I love the. Yes. I love the. Yes.

So now I'm going to show one slide of my tapestry.

Now, Malia. I'm sorry I'm interrupting you one more time and we can talk about it later but I have to mention an Indian female artist who I just looked up. Do you know of an artist name. Sajitha Shankar.

Sajitha Shankar.

If you don't, I'm going to afterwards when we talk later, I'll give you her name but I thought you might have her but there's so many talented Indian artists but, but she's one of them but I want to hear about you so I'll be quiet, I'll try to try not to talk to you.

Maybe, you know, maybe, maybe I know or something, but suddenly I cannot right now.

Oh, I am.

Yes, yes, there's no problem. Not a problem at all. Oh yes. So let's talk about your work.

Yeah, so I what I have done during it in my presentation I have kept few of my non expressionist artwork, so that I can make you understand how I went to the digital, that is expressionist work.

Excellent.

So, this is my tapestries where I lose almost everything natural. Natural wood, natural jute. Natural wood, natural jute. And I used to use in a raw form in a twisted form. So, the textures the handling the movement of the yarns. These were already, I was enjoying. And as we, we are very good in traditional way of learning so the, the grip of understanding how to do macrame or anything, or weaving. So I still mix match. Everything in my work as per the requirement.

Beautiful.

This is a, this is a print, you can make out from the maybe the height, the ceiling is visible, so it is approximately. I think the eight, eight feet height. So, earlier, all my books were at least five feet six feet, eight feet.

That used to be the size. Wow, that's pretty large.

Yeah, so, and this is a print, so this is a back and front so the way we I placed the block, the block printing with the stenciling. So the placement of the block on the backside given the textures.

Hmm. Is it is it paper or is that it's a fabric. Oh, it's fabric, of course you are a textile artists that's right.

Yeah, no. Not only that. Because of the fabric it has got transferred to the backside that's the reason.

I see. So we're looking at the front and the back, I see. Exactly. Interesting. Where is there a subject or is it totally abstract.

It is an abstract but from the starting only I was using the elements of life as my subject. So, the five elements which we need for our surviving. So some of the other way. Always. So, I think it was there from the starting, unknowingly, and later on, knowingly.

That's very interesting. They do have a soul to them, you know, that's why I asked they have a something deeper.

Yes. So, now I am going to how the digital things, I'm getting into. Because I was doing a lot of photography. Wherever I used to go, I used to do a lot of photography and the digital camera has given me one more opportunity to keep this photograph because when we were having that negative real concept we were very conscious about taking photographs.

Malavika Mandal Andrew

But when we were taking a digital photograph, there's no limit. So, from a long time I was clicking the photograph but never thought of that I will be doing some time, digital art.

Interesting. And did you see these photographs as like one of a kind artworks or were you just having fun taking photographs or did you see them as works of art like you did your textile art.

Yes, definitely. Because, not directly but indirectly. The involvement of the look, the inspiration is always there from the photographs.

Yeah, you can see similar, you can see a similar kind of feeling in them, you can.

Yes, yes, definitely. I mean my observation my photographs, all are always there with me when I'm doing the work. So, what the source always is. I mean, some right now as we have the. Internet from where we get a lot of images also so it's not like I'm using only my photographs. Sometime I'm using as a source of inspiration so the images which is there, few images you can see which is there on the right side. Those two three images are from internet.

Malavika Mandal Andrew

So I get that also. Yeah, to show that. It is not only. My click photographs are there in my Techspressionism art.

Yes, and I relate to that because it's, it's, it's, it's a larger thing going on right now and visual rising language that I, you know, we talked about in Techspressionism but the fact that you're, you're recognizing someone else's work and seeing and picking it's still your eye. You know seeing seeing what you want to see.

Yes. So now I'm going to the next slide, which is talking about the medium how the thing happened like after my schooling and my college, as I said I shifted to shifted to Bombay, and in 2003 I had my tapestry exhibition, which was mixed medium in textiles and tapestry exhibition. Now, that time. As usual. How you see it. I'm not going to say that this expressionism medium is also not that way acceptable still in the gallery. Similarly here also leaving canvas and things people doesn't understand any other medium.

Yes, yes I've been through those challenges. I agree, it's been very exciting but I've had the same issues.

Yes, so, yeah, exhibition appreciation everything was there. But if when it came to sale nothing was there. So I have to continue work it was not like the, I had a good thing so now I can stop my job and I can put my effort.

Right, and you want to keep investigating the way that your mind wants to go you know not to commercialized I understand that too. You know I think it's back to do commercial work and fine art or mix them, they all mix up a little bit, especially with. Yes, yes, definitely. So,

The thing happened that it do it from 2003 to 2007, I was moving in and around all over. More places missing abroad also because of my company's requirement of exhibitions, then other marketing, and I was handling it. There was a time when I was handling, designing marketing. And I was like, Oh, I'm going to do this. And I was like,

Yeah, I'm

Going to do this. And I was like, Yeah, I'm going to do this. And I was like, Yeah, I'm going to do this. And I was like, Yeah, I'm going to do this. And I was like, Yeah, I'm going to do this. And I was like, Yeah, I'm going to do this. And I was like, Yeah, I'm going to do this. And I was like, Yeah, I'm going to do this. And I was like, Yeah, I'm going to do this. And I was like, Yeah, I'm going to do this. And I was like, Yeah, I'm going to do this. And I was like, Yeah, I'm going to do this. Those things to learn to know and 2007 when due to my some personal issue because I was not conceiving so doctor said that your stress level is too high so I thought of he okay let's take a break now after taking the break it's like you know I mean like what to do now and then again I started developing small very small miss from six feet I reached to seven eight inch you can say weavings these are seven and eight inch oh so they're small oh you know first those images I have not incorporated but this golden with the blueprint that is a little bigger it is at least maybe 36 inch but this I have developed little later so I started doing that but because I was not continuously on this work so to finish to it used to take little time the patience to sit to do it was taking little bit of time and that moment the because I was mixing this print with this weaving the entrance of digital art happened in my life oh wow cool so this is the same thing we can do on the day of the book for an hour we can do it on the day of day of the book we can do it on the day of the book we can do it on the day of the book we can do it on it on the day of the book we can do it on the day of the book we can do it on the day of the book we can do it on the day of the book we can do it on the day of the book we can do it on the day of the book we can do it on the day of the book we can do it on the day of the book we can do it on the day of the book Srimoyee Mitra, engraving then here on the bottom on the intrinsic 25 extreme on the right side, the down bottom is on a leisure leisure and gravy try to understand continuously I'm using digital development.

Srimoyee Mitra, is my point. Srimoyee Mitra, Is I am developing.

Srimoyee Mitra, Is there any photography in this is there photography yeah.

Srimoyee Mitra, yeah so I did yeah is I did photography and then I changed as per my requirement, and then I have converted that into black and white, because in leisure cutting they work wherever the. Srimoyee Mitra, colors as for the color market, and I can do to color market in that time it was like that so developing that I used to send for the engraving and there they used to do the leisure engraving and used to send me. Srimoyee Mitra, Okay. Srimoyee Mitra, indirectly, what I mean to say the it is fabric, it is canvas it is board, but the involvement of the digital is there.

Srimoyee Mitra, In the layering in the layering of all those things. Srimoyee Mitra, Well that's. Srimoyee Mitra, And they still really pack a punch they have a certain soulful it's very abstract, but it says something you can feel that it's saying something.

Srimoyee Mitra, Yes, so. Srimoyee Mitra, I mean. Srimoyee Mitra, That this time what I was developing my inspiration, along with the with the. Srimoyee Mitra, elements of life my because I shifted from that. Srimoyee Mitra, Such a beautiful hard to our to mumbai which is failed, only with the with the buildings.

Srimoyee Mitra, Yes.

Srimoyee Mitra, That. Srimoyee Mitra, Coming from I know really.

Srimoyee Mitra, I was missing that, but at the same time, it is like in transit, you know I am for my for my progress for my achievements for my desire I shifted from one small town to a city. Srimoyee Mitra, That only I have tried to put but doing this whole thing I was slowly I was feeling that I am going. Srimoyee Mitra, I mean leaving the nature I'm going somewhere is ahead.

Srimoyee Mitra, I see. Srimoyee Mitra, So Mumbai was having an influence.

Srimoyee Mitra, Yes, yes. Srimoyee Mitra, All this all the skyscraper building gives me a feel like a staircase going upward unlimited I mean today you'll find say 35 story buildings, and now there is hundred story building, so I mean it was like.

Srimoyee Mitra, yeah I hear you and I've seen your work and I, I look forward to you telling more about it, but it's like this cuneiform different evolution that's urban you know it's. Srimoyee Mitra, Continuing like nature.

Srimoyee Mitra, So, like how my life was getting mixed with all these different concepts similarly materials are also getting mixed in my work also. Srimoyee Mitra, Digital and drawings scholars, along with the material when I'm talking about like here in the last one that the in transit. Srimoyee Mitra, 23 I think. Srimoyee Mitra, So. Srimoyee Mitra, So in that I have used the black area is a board. Srimoyee Mitra, The big green area is a. Srimoyee Mitra, acrylic fiber with the engraving then this red area is a quality to cheat. Srimoyee Mitra, And the spiral movement of the staircase is photograph.

Malavika Mandal Andrew

Srimoyee Mitra, Along with that, stitching and canvas engraving so I mean.

Srimoyee Mitra, And this is what is it on is it like is it. Srimoyee Mitra, Is it on a board or something.

Srimoyee Mitra, Yes, yes, yes, yes, I have listed everything on board. Srimoyee Mitra, And so it's a one of a kind. Srimoyee Mitra, Yes, definitely, it is a flat yeah

Little

Bit raised is there because the mountain board I didn't use a cut mountain, but I have torn it, I mean I was pulling and you know the layers of the mountain board comes out in this. Srimoyee Mitra, Between so do you want me doing is increase.

Srimoyee Mitra, It would be good to zoom in that's a beautiful.

Srimoyee Mitra, Yes, why not that's no plus point of powerpoint I can do that, can you see now.

Srimoyee Mitra, yeah and you can see the stitching. Srimoyee Mitra, Yes, once again yes. Srimoyee Mitra, I. Srimoyee Mitra, wonder. Srimoyee Mitra, I love the close. Srimoyee Mitra, up. Srimoyee Mitra, In the far away spatial contrast in the same plane. Srimoyee Mitra, Is that there's a yeah that. Srimoyee Mitra, has a kind of.

Srimoyee Mitra, Even if you see the original world again you'll say oh my God, it is so different. Srimoyee Mitra, Oh really yes. Srimoyee Mitra, Because, because this quality sheet is not flat actually it is a. Srimoyee Mitra, Real call it a cheat, but here it looks like a stripe print I have done that way.

Srimoyee Mitra, yeah that's the thing about seeing. Srimoyee Mitra, Things close up when they're physical I agree that's a big difference, but at least we can see them, you know between New York and Mumbai.

Srimoyee Mitra, We definitely. Srimoyee Mitra, Have your work. Srimoyee Mitra, So

Now I'm going to the next slide from where I'm starting with the. Srimoyee Mitra, Digital expressionism work. Srimoyee Mitra, So. Srimoyee Mitra, Unlimited progress series of when I did it was. Srimoyee Mitra, 2000. Srimoyee Mitra, 2007 eight I can say yeah eight. Srimoyee Mitra, That time there was a tsunami and even in my life also little bit of you can see, as I said. Srimoyee Mitra, tsunami yeah so. Srimoyee Mitra, It is to be the subject has came, maybe you know I cannot say very definitely, but the nature is getting affected even same way I'm also trying for the family and that was there. Srimoyee Mitra, In my mind, so all together this kind of development, I did that time and it was believe me, I mean when I was into the art of developing this I was thoroughly enjoying I mean it is a subject wise yeah different.

Malavika Mandal Andrew

Srimoyee Mitra, Maybe it is a painful subject, but when I am working the handling the using of the tools. Srimoyee Mitra, it's not possible to do these things. Srimoyee Mitra, In my mixed media world, so when I am using text text person is as when I'm working as a tech specialist, I will say that I am totally what I'm getting will not be possible in my mixed medium.

Srimoyee Mitra, Yes, I hear you and that's I think that's very important it's not like we're taking a painting and then printing it out to digital. Srimoyee Mitra, We are working with digital tools in ways that the things we're doing can be done any other way. Srimoyee Mitra, And that's what makes it fascinating and it speaks to the culture of today very distinctly.

Roz Dimon

Srimoyee Mitra, Because

I mean some people does that maybe they will remove this kind of print and then they will paint similar thing, but I was feeling the why I should do that, you know why I have to when this medium is there. Srimoyee Mitra, Right and the best part is like how just now you told I shall I zoom and show it to you. Srimoyee Mitra, Sure. Malavika Sharan, Is not possible that's not possible in painting.

Srimoyee Mitra, you're right I'm sorry that's right and I've said a few times in some presentations that I remember that Pablo Picasso said Oh, I wish I could lift all the layers of my paintings up to show all the layers well. Malavika Sharan, Very now we can we can we can show all the layers and you know what's interesting Malavika some artists. Malavika Sharan, They don't like digital because there's so many choices. Malavika Sharan, I mean. Malavika Sharan, You have to really know what you're going for because there are all these options, you know you can have 1000 layers 300 layers two layers mix them up and down and it's a fascinating medium.

Srimoyee Mitra, definite it is, it is fascinating and sometime it happened, you know we are so lost that I miss at least for me, because I am not. Srimoyee Mitra, What I should say I'm not a professional way I have not learned the ad of Photoshop. Srimoyee Mitra, Or a photo draw. Srimoyee Mitra, You have learned with a trial and error so.

Malavika Sharan, For me to bring back. Malavika Sharan, say that again you're not using Photoshop you're not using are you using. Malavika Sharan, photo no.

Malavika Sharan, I am using I am using yeah I am using Photoshop and folder. Malavika Sharan, yeah for my work, but what I'm saying, because I keep on moving ahead, it becomes very difficult to understand later on this effect, how I got it yeah.

Malavika Sharan, Yes. Malavika Sharan, I am because it's the way you immerse when you immerse into an artwork you sometimes you look at it later you don't you know how it happens, I mean. Malavika Sharan, You know, because yeah it can be a painful subject but it's like a certain you lose your life when you're in an artwork to that level in a way.

Srimoyee Mitra, Yes, I don't know about I you are also a digital artist, but what is happening for me I'm doing a lot of. Srimoyee Mitra, experiment, you know, while doing it. Srimoyee Mitra, So which tool when I have used.

Malavika Sharan, I cannot. Malavika Sharan, I see I see what you're saying that in the midst of the experiment you don't really remember what you did. Malavika Sharan, that's fascinating though that's these are I mean these are really compelling images.

Srimoyee Mitra, yeah so sometime I was feeling he shall I join some institute to learn it, but then I feel I maybe this, you know the trial and error and getting that effect, I will maybe lose it I not. Srimoyee Mitra, able to get. Malavika Sharan, That absolutely I'm with you.

Malavika Sharan, I understand. Malavika Sharan, you're making you're making that very clear and that's fascinating that your pieces are coming out of your intuitive experimentation. Srimoyee Mitra, Yes, so

Now, what the thing again one more plus point of digital is that same time I can get to change in black and white or colored. Malavika Sharan, Right. Malavika Sharan, yeah there you go. Srimoyee Mitra, So I have used this later on in my mixed medium work so I'm just showing it that and in 2008 my first egg group exhibition.

Malavika Mandal Andrew

Srimoyee Mitra, Was bricks and motors, where they displayed. Srimoyee Mitra, My first digital work so out of that this was one there was two more know one more sorry, so this, it was the first exhibition and digital. Srimoyee Mitra, And the gallery sold two pieces.

Srimoyee Mitra, Excellent.

Malavika Sharan, Oh yeah so curator just mean show them when I was the first person who gave me the chance for this. Malavika Sharan, And. Malavika Sharan, I mean that made me more you know open you know let's do it, I can that means the thing is looking nice attractive.

Srimoyee Mitra, that's great that is a great.

Malavika Sharan, Though. Srimoyee Mitra, And it's all very.

Malavika Sharan, All addition very small edition it's only six that's great. Malavika Sharan, that's nice yes.

Malavika Sharan, yeah yes value. Srimoyee Mitra, yeah so. Srimoyee Mitra, And she showed in one show only. Srimoyee Mitra, She showed to do additions. Malavika Sharan, that's great. Srimoyee Mitra, Yes, I mean.

Malavika Sharan, yeah people asked me. Malavika Sharan, Oh well, how can I trust that you only do to and you know I say look people have for years there's been lithography and there's been all sorts of photo additions you know you have to trust the artist ultimately you really do.

Malavika Sharan, So. Malavika Sharan, So. Malavika Sharan, This was the thing man from subject only you can understand unlimited progress means from the mountain and the level dunga place I came to bombay, we just see so and leaving that also I'm trying to go where I don't know so that was the.

Srimoyee Mitra, So full of surprise with that title wave coming over it's just oh it's fascinating piece.

Srimoyee Mitra, yeah. Malavika Sharan, Shall I go ahead it's okay.

Malavika Sharan, yeah

So the next was maybe you will not recollect, as I said. Malavika Sharan, Then I was doing weaving I was mixing print so. Malavika Sharan, If you see here in the blue area see similar designs out there. Malavika Sharan, Oh yeah. Malavika Sharan, And the same came here.

Srimoyee Mitra, yeah. Malavika Sharan, it's endless and I, you can feel your freedom of expression it's inspiring.

Srimoyee Mitra, So I mean always so later on, when I started, which I will be coming that connecting series is that gives me that only that I mean I try again, you know, going back to the previous and the late whatever and then again mixing it so it's not like I'm leaving and going ahead.

Malavika Sharan, yeah you're going backwards and forwards and all. Over. Srimoyee Mitra, yeah.

Srimoyee Mitra, And not only that you know I faced one more problem is related with the subject related with the medium. Srimoyee Mitra, Some of the galleries told me that how many mediums you're working, you know you should fix up your technique your that's the way artists should do. Srimoyee Mitra, I said it can it may be, it is the requirement of the artists, but I'm not fit for that maybe because I believe more enjoying rather than fixing on one particular style or technique.

Srimoyee Mitra, That is a good question. Srimoyee Mitra, That's interesting isn't it because galleries, they say they're about fine art but honestly, as some of them, I mean there were some galleries, I mean. Srimoyee Mitra, I'm not knocking the gallery system completely, but I do think it's become the it has become like oh put the artists in the box and sell as many of these and I understand, I mean that we're in a commercial you do have to make a living, but you know. Srimoyee Mitra, It could be such a more exciting and that's what makes expressionism so exciting it's artists really. Srimoyee Mitra, experimenting and. Srimoyee Mitra, And doing great work precisely because they're not putting themselves in a box they're not and it's this kind of work is what comes out and it's exciting to see and all great movements started this way, you know it's thinking out of the box.

Srimoyee Mitra, The

Next work is I kept for showing you that how I'm mixing it like these on the left side, these two works are mixed medium. Srimoyee Mitra, And then, you know, the next one is a little bit of a different kind of work, which I took the photograph and I have used for creating this digital collage.

Srimoyee Mitra, Now, are you thinking about the element you talked about the five elements fire, water, what is it.

Srimoyee Mitra, Yes, yes, yes, very much it is there, and along with that the Mumbai and the unlimited progress is there, so the staircase. Srimoyee Mitra, yeah. Srimoyee Mitra, The staircase you know. Srimoyee Mitra, What is.

Srimoyee Mitra, There it's.

Srimoyee Mitra, There it's. Srimoyee Mitra, Thank you for understanding.

Do. Srimoyee Mitra, So

It is like I mean we are behind the behind our lifestyle. Srimoyee Mitra, requirement, because of which I have used different you know this coins and currencies, if you can make out I don't know.

Srimoyee Mitra, Is it hard to make that out that's currency. Srimoyee Mitra, Yes, yes that's the coins and currencies. Srimoyee Mitra, Oh.

Srimoyee Mitra, underneath. Srimoyee Mitra, Underneath the red colors it is there, and even if you see the round on. Srimoyee Mitra, yeah. Srimoyee Mitra, part of me just getting splashed out. Srimoyee Mitra, So those are all the currencies, I mean all the coins.

Srimoyee Mitra, Great. Srimoyee Mitra, Great time yeah limited progress yeah there you go.

Srimoyee Mitra, it's power. Srimoyee Mitra, means I am more into technical definitely I enjoy that working with the technical concept. Srimoyee Mitra, And. Srimoyee Mitra, I think that's. Srimoyee Mitra, The thought process is there, but first, then the reason it becomes sometime you know sometime I'm working and then I'm thinking that also happens lot of time he what I can what I can explain through this.

Srimoyee Mitra, does that mean that when you're working something all of a sudden, you start thinking and it changes, because the concept changes is that what you're saying a little or.

Srimoyee Mitra, Because yeah. Srimoyee Mitra, I maybe got it engraved something for some particular part process, I thought of the Okay, I will do with this a staircase or a composition, I already thought of, but when the. Srimoyee Mitra, The state is engraved I have received, I thought the Oh no, this is not fit, I will do something else.

Srimoyee Mitra, Exactly, I mean there are no accidents, when you accept an accident one then it's no longer an accident it's like oh I'm going to use this or. Srimoyee Mitra, Things. Srimoyee Mitra, change. Srimoyee Mitra, that's what's exciting I'm watching the clock just a little it's 215 and I don't want to pressure you, but I do want to.

So I will be little jumping now yeah because this is the main detail of mixing concepts, so now I'm going to next one. I'm not showing the other two and going to next one, I think the question your was related with this one. Oh yeah.

Srimoyee Mitra, yeah well. Srimoyee Mitra, that's very I don't know that seems very sensual.

Srimoyee Mitra, So here again, it is actually missing gamebook, but if I show the next slide you'll understand these all I have developed on computer on Photoshop photo so and then I have combined on an acrylic transparent sheet to give the feel of this all around. Srimoyee Mitra, surrounding the. Srimoyee Mitra, entity. Srimoyee Mitra, So, wherever it will, I mean the person will be keeping the buyer will be keeping will get the. Srimoyee Mitra, The back wall will be part of that.

Srimoyee Mitra, I see, so the white is a big the negative space in a way, is a big part of the piece you're saying yes, yes. Srimoyee Mitra, very intriguing.

Srimoyee Mitra, So. Srimoyee Mitra, I mean each individually first I got it and then I have cut and paste. Srimoyee Mitra, And then this. Srimoyee Mitra, You can see, also mentioned there's a fail, there is a fiber then yarn stitching everything is.

Srimoyee Mitra, Right you bringing stitching so it's getting you're going out of digital and back into physical again at the end, which is kind of nice because people have a physical piece I think that's Nice.

Srimoyee Mitra, And.

Srimoyee Mitra, Even now. Srimoyee Mitra, I. Srimoyee Mitra, Go for next this.

Srimoyee Mitra, This

Is my next story advances when I developed this I was going through like you know too many like I thought of, I will be doing tapestry or I thought of, I will be doing that, but that becomes my secondary and my. Srimoyee Mitra, Living or my other responsibility becomes first so here that's, the reason I. Srimoyee Mitra, showed in a layers again here playing with the layers even in the digital work which I have used in the backdrop the grayscale landscape that is also a layered digital work. Srimoyee Mitra, And on top, which I have done stitching these are all stitch cord and yarns there that is an on top of that this yellow colors which I'm showing like the colors are inside the House not there outside in the nature.

Srimoyee Mitra, wow and it's. Srimoyee Mitra, How yarn it to me to make the stitching you have to have a pretty strong paper or something don't you or.

Srimoyee Mitra, know, so this printing I have done on canvas.

Srimoyee Mitra, Oh, I see oh so you're actually. Srimoyee Mitra, Stay into the canvas. Srimoyee Mitra, Yes, and then you photo print the other things on to the canvas or.

Srimoyee Mitra, So what I'm doing I like how we print on archival photograph paper maximum I'm using either photograph people or otherwise. Srimoyee Mitra, I have to do the stitching work, otherwise it's not the study. Srimoyee Mitra, I see that's the reason yeah and these are what colors area, you see, those are all gateway sheets which I have colored and added over there, there is a small meeting also here. Srimoyee Mitra, You say what you have done too many things.

Srimoyee Mitra, Well yeah it gets crazy, but this is these are very exciting pieces. Srimoyee

Mitra, So I have a. Srimoyee Mitra, yeah so here, there is a weaving also small woman, a piece, I have added over there, so it doesn't layers again.

Srimoyee Mitra, And 36 do you attribute if you get something from someone else, do you think it's important to mention them, or do you change it enough, or is it all your photography or what do you think about that.

Srimoyee Mitra, No it's totally my photography and then I have added. Srimoyee Mitra, yeah match I have here, there is no other photography is there. Srimoyee Mitra, So these photographs are maximum either from. Srimoyee Mitra, Bombay Bombay I will not say Bombay it was it is a little far from here, there is a sea beach then put the pool is the name of the place and the mountain area, whatever you see is the luck.

Srimoyee Mitra, well.

Srimoyee Mitra,

I moved to the next. Srimoyee Mitra, I just show. Srimoyee Mitra, I will not talk.

Srimoyee Mitra, No that's all right it's good and I think some of our questions we wanted to cover I think you've answered and you've also talked about what interests you about expressionism. Srimoyee Mitra, Oh, look at these are these so interesting well what date are these that we're looking at now.

Srimoyee Mitra, Oh, this is this on the right side inspiration and realization title is. Srimoyee Mitra, Digital collage. Srimoyee Mitra, Now, when I was doing this, I thought of doing a 3D. Srimoyee Mitra, 3D painter 3D means really painting my last 3D really painting, so the same image without the building area, I have used a print on a canvas.

Malavika Mandal Andrew

Srimoyee Mitra, That is, in between. Srimoyee Mitra, The title in between, which is on the right side, this, this is a mixed medium work, so what I want to say. Srimoyee Mitra, digital. Srimoyee Mitra, Again, getting inspired also for the mixed medium.

Srimoyee Mitra, yeah and it. Srimoyee Mitra, reminds me. Srimoyee Mitra, of the factoring the glitch thing that we see. Srimoyee Mitra, Russian ism it. Srimoyee Mitra, yeah on that one on the right you're getting into that you know I don't know.

Srimoyee Mitra, Yes, so I if I answer one of your question here is it okay. Srimoyee Mitra, That how you feel that expressionism award has. Srimoyee Mitra, reflected on to me. Srimoyee Mitra, yeah is it.

Srimoyee Mitra, yeah so.

Srimoyee Mitra, that's, the reason I feel when the when the in the lockdown during the lockdown time I mean it's just started. Srimoyee Mitra, No it's not started, I will say I think it was December month when I was thinking of okay I'm at home, let me try, if I can get any online. Srimoyee Mitra, exhibition some kind of promotion or something to catch hold of that I was trying to. Srimoyee Mitra, Go. Srimoyee Mitra, Go through all the ads and then I saw this that. Srimoyee Mitra, expressionism ad was there and from there, I saw it was mentioned very nicely it attracted me I mean maybe you'll find funny but. Srimoyee Mitra, You know earlier, also, I used to get these kinds of ads, but I was not putting effort because $30 $40 was not that time possible for me to. Srimoyee Mitra, put on.

Malavika Mandal Andrew

Srimoyee Mitra, There is no a surety, you know where it will go and. Srimoyee Mitra, They always ask for physical work so once you are sending God knows it is going to come back or not right so that particular thing when I saw the expressionism ad and they mentioned that you have to tag your work if you feel you are fit for this world. Srimoyee Mitra, And you have to give explanation and they mentioned key, you can check the link to understand what exactly that expressionism word means.

Srimoyee Mitra, yeah I believe.

Srimoyee Mitra, Believe me, I mean when I read I. Srimoyee Mitra, Oh wow. Srimoyee Mitra, I. Srimoyee Mitra, Oh wow that's so nice because I used to feel very. Srimoyee Mitra, Very you know I mean when I said digital art, I cannot make out difference from the commercial people who are being and me, so this expressionism word has given a different identity. Srimoyee Mitra, Yes, it is having lot of aesthetical value Lord of emotions.

Malavika Mandal Andrew

Srimoyee Mitra, And along with the technical thing. Srimoyee Mitra, And along with the technical thing, but I am creating art I'm not creating production I'm not going to promote my art for some commercial purpose. Srimoyee Mitra, Yes, so this expressionism word makes me different. Srimoyee Mitra, That fee that, yes, I am an expression rather than digital artists I'd prefer to say expressionist artists.

Srimoyee Mitra, I understand I agree there is I've always called myself a digital artists, but I know on Instagram and. Srimoyee Mitra, That sometimes you can look at a lot of. Srimoyee Mitra, digital art and it's really some of it's technically interesting but it's not on the level of. Srimoyee Mitra, That I want to see some time you know back of exploration and of mystery and of seriousness and yet I think it's also a great tool for people to. Srimoyee Mitra, To earn their living, you know and learn so many things you know within the commercial side of it and then go home, I and do whatever you want, you know, on your own. Srimoyee Mitra, So those two worlds in some ways, I think, can really complement each other. Srimoyee Mitra, But I do agree with you that the level of art in the Techspressionist index is a high level and I.

Roz Dimon

Srimoyee Mitra, I like that too, I mean you don't want to just pay $40 to be in some show and they don't even tell you the juror is and. Srimoyee Mitra, They don't even tell you why they want it or what it means and there's a different thing working here there's something real going on here, you know that's exciting.

Kalimba Sharif, So one more thing I will talk about calling that when I was trying to apply for the. Kalimba Sharif, They were. Kalimba Sharif, That was a contest actually they were having a selection for the expressionist art exhibition. Kalimba Sharif, yeah so it happened that I mean. Kalimba Sharif, I mean, obviously at your place $10 is maybe a very small amount, but after it is a fee, I have to pay so when it came to the payment part, it was not accepting so then calling told me you use this code you don't have to do anything, you can. Kalimba Sharif, enjoy your.

Kalimba Sharif, index yeah.

Kalimba Sharif, So it was so nice of him to understand and.

Kalimba Sharif, Giving.

Kalimba Sharif, opportunity.

Kalimba Sharif, he's great I agree, I think it's wonderful and they need the fee, because you know it's hard it's a lot of work to do a show you know it's a so that's good, but it's nice that the people who are part of that someone like you that he's not doing it, I mean they're not doing it just for commercial or even for commercial.

Kalimba Sharif, Exactly, I want to say that part definitely fees is very important. Kalimba Sharif, But. Kalimba Sharif, You didn't feel that time he okay not for this he given me the chance, so there is an emotional touch, though it is a digital world, but so much emotional things that data.

Kalimba Sharif, that's true and some of us, I mean we've really gotten to know each other through the salons I think we're going to wrap this up pretty soon, if you want to show a few more, but I did want to ask what you're working on now. Kalimba Sharif, Yes, and if you want to show a few pieces I'm not trying to rush you too much but. Kalimba Sharif, What you're working on now no.

Kalimba Sharif, The future, this is, this is the thing which I started with a small scrapbook why I started because I was moving here. Kalimba Sharif, And, as I said that advances story I was telling you about so here it happened that I was not getting time to sit and work. Kalimba Sharif, So I started making you know different small stories I can I used to conduct workshop so in workshop I did some experiment, then this is like. Kalimba Sharif, This particular one is a newspaper weaving so I miss I was experimenting with the race, so I didn't wear the urine I'm showing you here. Kalimba Sharif, Oh no, it is like a spoon I thought when it will come I'll read it and I.

Kalimba Sharif, that's great well you know design. Kalimba Sharif, Design and art go together, I mean yes. Kalimba Sharif, Yes, yes, they do you know my teeth is full of design and Jennifer bartlett there's a design and a beauty. Kalimba Sharif, Yes, yes. Kalimba Sharif, As well as. Kalimba Sharif, Yes, an exploration.

Kalimba Sharif, So I started making artists book where each page is connected with the next how our life is also connected with the I'm not finishing in one day, it is not like that, but pages are connected. Kalimba Sharif, From there, what is my thing is already I finished quite a bit now I am taking from that design and with my photography and my, this is my first page. Kalimba Sharif, of drawing, so I am developing now. Kalimba Sharif, This work now here what I want to make again why I'm taking here because Techspressionism word, I have to emphasize here that the zooming then getting all those small details. Kalimba Sharif, You know the irregular drawings sometime I don't feel like leaving that I want to be with that. Yeah.

Kalimba Sharif, yeah

So that is possible because of expressionism.

Jennifer Bartelette she, She & She, And there's. Kalimba Sharif, Still a soulful. Kalimba Sharif, thing. Jennifer Bartelette she, She & She, And there's. Kalimba Sharif, there's some and it's got your the wonderful thing about looking a lot of work by one person, even if they have a lot of different periods, which I mean, I think that they should I mean I have a joke, but I said Picasso got eight periods and I don't see why women should only have one. Jennifer Bartelette she, She & She, But you know. Kalimba Sharif, I know. Jennifer Bartelette she, She & She, But you know, you need to grow if you're going and you're going to change and you're going to go back to a more of a sometimes you're more drawing side I get back into drawings and then getting back to these. Kalimba Sharif, Big explosive multi layered paintings that are digitally made, so I understand you don't stay are some people do everybody has a different way, you know we all have a different personality, but.

Roz Dimon

Kalimba Sharif, I really what do you.

Kalimba Sharif, You are asking me about the other humans, what is your future plan so. Kalimba Sharif, The this from there, I am taking one by one page and again I am connecting so this series I call it as a connecting because continuously I am developing from that. Kalimba Sharif, The year. Kalimba Sharif, The all the all of them are having the same storyboard.

Malavika Mandal Andrew

Kalimba Sharif, That one page only this one drawing only I have played through. Kalimba Sharif, All of them.

Jennifer Bartelette she, She & She, Oh interesting wow.

Kalimba Sharif, Maybe you can make out here the down part it is in. Kalimba Sharif, yeah and from that this is the time when I. Kalimba Sharif, expect. Kalimba Sharif, It is the time in this

How I think of you I think of you and I will my hand and you as the person in the family. Amazing how much you can put in one piece, isn't it? Like there's no end. And you know what's interesting? I was making this point. But when you look at a person's work, like a retrospective a little bit, this whole, there is something in your work, even with all the differences, it ties it together. So it's really great to look at a body of work like this. It's very compelling.

So I mean, that's the thing I wanted to express, that the link is continuously will be there. And all these are digital expressionism art.

And they have a deep spiritual to me. They seem, they have a, like I said from your first piece, is a kind of soulfulness, if you can understand what I'm saying, a soul. Yes. They have something else going on too. Oh, this has been so beautiful. So this is where you're going right now, right? This is really where you're working on now.

So currently at present, what I have worked is with the, I mean, just last what I was working with the lockdown, because I didn't go much outside. So the photography, whatever I did inside the house with my kitchen and my windows.

It's fabulous. It's been wonderful to see this.

Yeah. So it is all. All full of, you know, this. Yes. I hope. That's right. I have, I managed to explain. So I have given this one name as Square Eyes. What is it named? Square Eyes. Square Eyes. Oh, yeah. Wow. Because everything is, you know, I mean, we are talking also through square. Only my camera is, this is round, otherwise everything is square.

You're right. You brought that up the last time. And it was a very interesting kind of concept that I've dealt with too. We're inside a square computer. You and I are inside of squares. We look at the squares of tons of photos on our cameras. And so we've got to break through that square.

Roofs are square. We're trapped. Rectangles and square.

Yeah. No, it's an interesting cognizance, you know, that you have of that. And you're breaking through it a little, it seems, because it's not quite square anymore. You know, you seem to be trying to break out of that. Yeah. I'm a. I'm reminded of Elizabeth Murray. She's an American artist. But she did these rounded forms, curvilinear things that she would put on the wall. And they had a relief-like feeling. But she was really breaking through the square a lot.

Roz Dimon

So who knows? Maybe that's the next Malavika.

Oh. Thank you. Well, let's. Fine. So I think I have covered almost. You what? Yes. I think I have covered almost. And because we are running short of time, we have gone quite a bit.

I think so. I think we should probably either, if there's one more. Or close the screen and just talk for a minute.

I think this is the last right now I am working on. And as I said, the involvement of that expressionism art is in the current work also is present.

Wonderful. Well, let's close the screen. And get back to.

Thank you. Thank you for patiently handling my own.

Fascinating. I love your work. I think you're very talented. And I look forward to seeing what you're doing next. Like for the last thing, let's talk about. This has been really wonderful, Malavika. What do you. I mean, do you have any comments about the future of art? How do you have any thoughts about how you see the future of art before we sign off today?

Yes. I. I want to say one thing. I mean, when I was doing this and I always talk that art is such a thing that we can. We can do it at any age. I mean, there is no age limit. Yeah.

Great.

Because it was forced when he's there, he is having a limit or dancers. Also, I mean, fine. I mean, you are dancing for the sake of just doing little bit. But art, I feel is. I mean, no time boundaries. On top of that, this expressionism art. Is I feel have more. More. I think we should publicize more because the expense of the art material is not there. You just need your, you know, your computer, which always nowadays it became handy on your cell phone also. Yeah. And you can go on and on with the. With your experiments.

Malavika Mandal Andrew

So it is. I feel is the best thing. Well, you know, I think. The always be that you can do it. So I will be there with me for a while.

If you are just going to do is I will be there with me for a while. And I'm like, we're just going to go on and on. And I'm like, and I'm like, you're just going to go on and on. And I'm like, you're just going to go on and on. And I'm like, you're just going to go on and on. And I'm like, you're just going to go on and on. And I'm like, you're just going to go on and on.

And I'm like, you're just going to go on and on.